PREFACE AND ACKNOWLEDGMENTS
This volume represents the first in a series of catalogues of the Getty Museum's drawings collec-
tion. It contains entries on our acquisitions from 1981 through 1985 and takes into account bibliographical
information through 1986. It is anticipated that future volumes will appear at more or less regular intervals
marked by additions to the collection in sufficient numbers to warrant new publications. Later catalogues
will also contain further material on the drawings included in this one. The format of this and future vol-
umes will be standardized, with drawings organized by national school, alphabetically by artist's name, and
then chronologically. The physical description of each sheet will mention any noteworthy irregularities.
The writing and production of this catalogue have involved the assistance of many individuals. I
am grateful to Lee Hendrix, Assistant Curator, and Gloria Williams, Catalogue Assistant, for their work
on all aspects of the project, ranging from the drafting of the introductory biographies to the contribution
of many useful ideas about individual drawings. Their specific suggestions—like those of other scholars^
are duly noted in the appropriate places in the text. Nancy Yocco^ Conservation Assistant, carefully
recorded relevant information about the condition of each drawing and the inscriptions and marks that each
one bears. The entire text was reviewed and helpful criticisms offered by three readers: Diane DeGrazia,
for the Italian drawings; Beverly Jacoby, for the French and Spanish drawings; and Anne-Marie S. Logan,
for all of the Northern and British drawings. Giulio Bora was kind enough to read over those entries deal-
ing with Lombard drawings and to make several helpful suggestions.
Andrea P. A. Belloli took over the editorship of the catalogue at an especially difficult moment and
carried out her role with the optimum blend of editorial sternness and good cheer. Patrick Dooley pro-
duced the design of the volume. Lastly, many scholars have offered suggestions. In every case I have
attempted to note their contributions in the entries on individual sheets, and thank them here collectively
for their advice. Notwithstanding my respect for their opinions and for those of other scholars, full respon-
sibility for the attributions and views expressed in the catalogue is my own. Where they depart from the
opinions of others they do so respectfully, but unapologetically, since I believe that each connoisseur must
attempt to make his or her own judgments instead of reporting the results of scholarly polls.
The publication of the first volume of our serial catalogue is an appropriate moment to thank the
many people who have made possible the existence and development of the collection. Harold Williams
and Otto Wittmann supported our initial purchase of the Rembrandt, and have—along with other mem-
bers of the Board of Trustees—given great encouragement throughout the last six years. Since his appoint-
ment in 1983 as director, John Walsh has encouraged the evolution of a broader concept for the collection
and has given me a degree of freedom and support unusual for any curator. Within the department, LeeHendrix has been of enormous assistance with all curatorial matters, while Nancy Yocco has looked after
the physical care of the drawings with exemplary dedication. Outside the Museum, Alexander Yow
deserves special mention for the fine restoration work he has carried out on a number of our drawings and
for his advice. In addition other scholars and dealers too numerous to list here have been of assistance in
myriad ways. It is my hope that all those who have contributed to the beginnings of the collection and the
writing of this catalogue will feel at least partially compensated for their generosity by seeing the result.
George R. Goldner
Curator, Department of Drawingsix